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Motion Design
MOTION DESIGN FACILITIES The Motion Design floor is a complete production studio, housing all the necessary facilities to accommodate the production of any project. The professional facilities include a stop-motion studio, green screen studio, computer labs, Cintiq lab, and audio suite. Motion Design students use software including Cinema 4D, (3D computer animation software), NUKE (compositing and visual effects software), Adobe After Effects (2D computer animation software), Dragon Frame (stop-motion animation software), and the Adobe Creative Suite. The Motion Design Department at Ringling is now recognized as a Houdini Certified School. Houdini is a 3D procedural animation software used for motion design, visual effects, game development, and even virtual reality. INDUSTRY GUEST SPEAKERS The Motion Design industry changes rapidly, so it’s integral that students know what is happening with trends and practices in the field. That’s why we bring industry leaders and professionals into the classroom to share their knowledge and experience. Previous industry guests include: NICKELODEON PSYOP Design in Motion for Any Screen NBC UNIVERSAL RYAN WOODWARD J.R. CANEST IMAGINARY FORCES As a Motion Design student, you will imagine, design, shoot, animate, JIBJAB THE MILL and experience. Created from the convergence of animation, graphic LOYALKASPAR BEE GRANDINETTI design, advertising, and filmmaking, the Motion Design program is cross- BET BEEPLE disciplinary at its core. You will learn how to craft powerful animated visual communications for any type of screen, integrating various image-making technologies and media including 2D and 3D animation, stop-motion, CAREER PROSPECTS graphic design, concept development, videography, and sound design. Our alumni have started their careers in companies Motion Designers employ professional industry practices and work and studios including: Google, Apple, Ford, Disney, collaboratively with other creatives across disciplines. -
Biden Calls for New Gun Laws As Shootings Rekindle Debate
P2JW083000-6-A00100-17FFFF5178F ****** WEDNESDAY,MARCH 24, 2021 ~VOL. CCLXXVII NO.68 WSJ.com HHHH $4.00 DJIA 32423.15 g 308.05 0.9% NASDAQ 13227.70 g 1.1% STOXX 600 423.31 g 0.2% 10-YR. TREAS. À 13/32 , yield 1.637% OIL $57.76 g $3.80 GOLD $1,724.70 g $13.10 EURO $1.1851 YEN 108.58 Boulder Mourns Victims as Suspect Is ChargedWith Murder Intel Sets What’s News Strategy To Speed Business&Finance Its Chip ntel’snew CEO is fast Itracking effortstorevive the semiconductor giant Revival with abroad plan that mixes increased outsourcing with acommitment to spend $20 Semiconductor maker billion on newfactories. A1 earmarks $20 billion Powell, in a joint appear- ancewith Yellen on Capitol GES to expand U.S. plants, Hill, said he doesn’t expect IMA will boost outsourcing the $1.9trillion stimulus package will lead to an unwel- GETTY SE/ BY AARON TILLEY come increase in inflation. A2 U.S. stocks ended lower Intel Corp.’snew chief exec- afterthe testimonybyPowell ANCE-PRES utiveisfast tracking effortsto FR and Yellen, with the S&P 500, revivethe semiconductor gi- Dowand Nasdaq losing 0.8%, ENCE ant with abroad plan that AG 0.9% and 1.1%, respectively. B11 Y/ mixes increased outsourcing with acommitment to spend Robinhood Marketsfiled NNOLL $20 billion on newfactories paperworkwith the SEC for CO that could help addressa what is suretobeone of the ON global chip shortage. year’s most eagerly awaited JAS IN MEMORY: People gather foracandlelight vigil Tuesdaynight to honor the 10 victims killedMondaybyagunman at a Pat Gelsinger said Tuesday initial public offerings. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Last-Minute Requests
C M Y K www.newssun.com Last-minute gift ideas for the food lover in NEWS-SUN your life Highlands County’s Hometown Newspaper Since 1927 LIVING, B12 Sunday, December 22, 2013 Volume 94/Number 152 | 75 cents Best of the county Think hard before giving pet as a gift Corley, Whittington lead Humane Society: Not like a sweater you can just return All-County volleyball By BARRY FOSTER don’t like it.” PORTS S , B1 News-Sun correspondent She said that, although it can be a SEBRING — If you’re thinking of good idea to get a pet as a Christmas getting or giving a puppy dog or a kitty gift, it needs to be a well-thought-out cat as a Christmas present this year- process. The celebrations surrounding officials of the Humane Society would the holiday can be a very busy time, Crystal Lake like to offer a bit of advice. which can be confusing and stressful “People need to remember that get- for a puppy or kitten. ting a pet is a 10-year obligation,” said “There’s so much commotion going garbage may Humane Society of Highlands County on with people opening presents, and all President Judy Spiegel. “This is not like be costly for a sweater you can just return if you See GIFT, A5 Avon Park By PHIL ATTINGER Nyhan [email protected] AVON PARK — If the city brings in Crystal Lake on Monday, it may have some garbage to handle — liter- leaving ally. Crystal Lake Golf Club is on the agenda for final public hearing and annexation vote on Monday. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Integrating Video Clips Into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and Youtube in the Classroom
Integrating Video Clips into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and YouTube in the Classroom Ronald A. Berk Disclaimer: This chapter is based on a presentation given at the annual Evaluation Systems Conference in Chicago. Since the content of the October 2008 presentation focused on using videos in the classrooms of the future, this chapter will not be able to capture the flavor and spirit of the actual videos shown. The audience exhibited a range of emotions, from laughter to weeping to laughter to weeping. Unfortunately, this print version will probably only bring about the weeping. Keep a box of tissues nearby. Enjoy. Using videos in teaching is not new. They date back to prehistoric times, when cave instructors used 16 mm projectors to show cave students examples of insurance company marketing commercials in business courses. Now even DVD players are history. So what’s new? There are changes in four areas: (1) the variety of video formats, (2) the ease with which the technology can facilitate their application in the classroom, (3) the number of video techniques a teacher can use, and (4) the research on multimedia learning that provides the theoretical and empirical support for their use as an effective teaching tool. A PC or Mac and a LCD projector with speakers can easily embed video clips for a PowerPoint presentation on virtually any topic. This chapter examines what we know and don’t know about videos and learning. It begins with detailed reviews of the theory and research on videos and the brain and multimedia learning. -
The Satire/Parody Distinction in Copyright and Trademark Law— Can Satire Ever Be a Fair Use?
ABA SECTION OF LITIGATION INTELLECTUAL PROPERTY LITIGATION COMMITTEE ROUNDTABLE DISCUSSION ONLINE The Satire/Parody Distinction in Copyright and Trademark Law— Can Satire Ever Be a Fair Use? Juli Wilson Marshall Nicholas J. Siciliano Latham & Watkins LLP 233 South Wacker Drive Sears Tower, Suite 5800 Chicago, Illinois 60606 [email protected] I. PARODY VERSUS SATIRE IN COPYRIGHT LAW: JUST ARGUE PARODY A. Fair Use Defense for a Copyright Claim The fair use of copyrighted works for purposes such as criticism or comment is not an infringement of copyright. See 17 U.S.C. § 107. The idea of fair use reflects copyright law’s careful consideration of First Amendment principles, as fair use permits later authors “to use a previous author’s copyright to introduce new ideas or concepts to the public.” SunTrust Bank v. Houghton Mifflin Co., 268 F.3d 1257, 1265 (11th Cir. 2001). Section 107 of the Copyright Act delineates a nonexclusive list of four factors to assist courts in determining whether a given use of a copyrighted work is fair. The factors include: 1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 2. The nature of the copyrighted work; 3. The amount and substantiality of the portion used in relation to the copyrighted work as a whole; and 4. The effect of the use upon the potential market for or value of the copyrighted work. 17 U.S.C. § 107. Each factor should be explored and weighed on a case-by-case basis, and depending on the facts of the case, some factors may weigh more heavily than others. -
Granting Presumptive Fair Use Protection for Musical Parodies Maureen Mccrann Roger Williams University School of Law
Roger Williams University Law Review Volume 14 Issue 1 Symposium: Complexity and Aggregation in Article 6 the Choice of Law Winter 2009 A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies Maureen McCrann Roger Williams University School of Law Follow this and additional works at: http://docs.rwu.edu/rwu_LR Recommended Citation McCrann, Maureen (2009) "A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies ," Roger Williams University Law Review: Vol. 14: Iss. 1, Article 6. Available at: http://docs.rwu.edu/rwu_LR/vol14/iss1/6 This Notes and Comments is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Roger Williams University Law Review by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Notes A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies "YOU CAN'T MAKE UP ANYTHING ANYMORE. THE WORLD ITSELF IS A SATIRE. ALL YOU'RE DOING IS RECORDING IT." 1 In October 2007, the Bourne Company, copyright owners of "When You Wish Upon a Star," filed a complaint against Twentieth Century Fox and the producers of the popular animated TV show The Family Guy alleging "willful infringement of Plaintiffs copyright interests in the famous and iconic song."'2 This action resulted from an episode of The Family Guy titled "When You Wish Upon a Weinstein" in which the main character Peter Griffin sings re-written lyrics of "I Need a Jew" to the melody of "When You Wish Upon a Star."' 3 The defendants will likely assert fair use under copyright law, an affirmative defense to copyright infringement. -
Politics, Power and Ideology in American Comedy Late Night Talk Shows: a Critical Discourse Analysis
POLITICS, POWER AND IDEOLOGY IN AMERICAN COMEDY LATE NIGHT TALK SHOWS: A CRITICAL DISCOURSE ANALYSIS FARAH ABDUL-JABBAR MAHDI AL-MNASEER DOCTOR OF PHILOSOPHY UNIVERSITI UTARA MALAYSIA 2013 POLITICS, POWER AND IDEOLOGY IN AMERICAN COMEDY LATE NIGHT TALK SHOWS: A CRITICAL DISCOURSE ANALYSIS By FARAH ABDUL-JABBAR MAHDI AL-MNASEER A Dissertation Submitted to the School of Education and Modern Languages Universiti Utara Malaysia In Partial Fulfillment of the Requirmentfor the degree of Doctor of Philosophy in Applied Linguistics @Farah Abdul-Jabbar Al-Mnaseer,2013 All rights reserved Permission to Use In presenting this thesis in fulfilment of the requirements for a postgraduate degree from Universiti Utara Malaysia, I agree that the Universiti Library may make it freely available for inspection. I further agree that permission for the copying of this thesis in any manner, in whole or in part, for scholarly purpose may be granted by my supervisor(s) or, in their absence, by the Dean of Awang Had Salleh Graduate School of Arts and Sciences. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to Universiti Utara Malaysia for any scholarly use which may be made of any material from my thesis. Requests for permission to copy or to make other use of materials in this thesis, in whole or in part, should be addressed to: Dean of Awang Had Salleh Graduate School of Arts and Sciences UUMCollege of Arts and Sciences Universiti Utara Malaysia 06010 UUM Sintok i Abstrak Terdapat trend barudalamrancangantemubuallewatmalam (LNTSs) yang mengupasisu-isupolitik.PresidenAmerika Syarikat, Barack Obama, mempamerkanpelbagaijenishubungankuasadanideologipolitikdalamsesiwawancarab eliau di rancangantemubuallewatmalammeskipun LNTSs tersebutbersifatkomedi. -
America and the Musical Unconscious E Music a L Unconl S Cious
G Other titles from Atropos Press Music occupies a peculiar role in the field of American Studies. It is undoubtedly (EDS.) “It is not as simple as saying that music REVE/P JULIUS GREVE & SASCHA PÖHLMANN Resonance: Philosophy for Sonic Art recognized as an important form of cultural production, yet the field continues does this or that; exploring the musical On Becoming-Music: to privilege textual and visual forms of art as its objects of examination. The es- unconscious means acknowledging the Between Boredom and Ecstasy says collected in this volume seek to adjust this imbalance by placing music cen- very fact that music always does more.” ter stage while still acknowledging its connections to the fields of literary and Philosophy of Media Sounds ÖHLMANN Hospitality in the Age of visual studies that engage with the specifically American cultural landscape. In Media Representation doing so, they proffer the concept of the ‘musical unconscious’ as an analytical tool of understanding the complexities of the musical production of meanings in various social, political, and technological contexts, in reference to country, www.atropospress.com queer punk, jazz, pop, black metal, film music, blues, carnival music, Muzak, hip-hop, experimental electronic music, protest and campaign songs, minimal ( E music, and of course the kazoo. DS. ) Contributions by Hanjo Berressem, Christian Broecking, Martin Butler, Christof Decker, Mario Dunkel, Benedikt Feiten, Paola Ferrero, Jürgen AMERIC Grandt, Julius Greve, Christian Hänggi, Jan Niklas Jansen, Thoren Opitz, Sascha Pöhlmann, Arthur Sabatini, Christian Schmidt, Björn Sonnenberg- Schrank, Gunter Süß, and Katharina Wiedlack. A A ND TH AMERICA AND THE MUSICAL UNCONSCIOUS E MUSIC A L UNCON S CIOUS ATROPOS PRESS new york • dresden 5 6 4 7 3 8 2 9 1 10 0 11 AMERICA AND THE MUSICAL UNCONSCIOUS JULIUS GREVE & SASCHA PÖHLMANN (EDS.) America and the Musical Unconscious Copyright © 2015 by Julius Greve and Sascha Pöhlmann (Eds.) The rights of the contributions remain with the respective authors. -
Social Media Is Bullshit
SOCIAL MEDIA IS BULLSHIT 053-50475_ch00_4P.indd i 7/14/12 6:37 AM 053-50475_ch00_4P.indd ii 7/14/12 6:37 AM 053-50475_ch00_4P.indd iii 7/14/12 6:37 AM social media is bullshit. Copyright © 2012 by Earth’s Temporary Solu- tion, LLC. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10011. www .stmartins .com Design by Steven Seighman ISBN 978- 1- 250- 00295- 2 (hardcover) ISBN 978-1-250-01750-5 (e-book) First Edition: September 2012 10 9 8 7 6 5 4 3 2 1 053-50475_ch00_4P.indd iv 7/14/12 6:37 AM To Amanda: I think you said it best, “If only we had known sooner, we would have done nothing diff erent.” 053-50475_ch00_4P.indd v 7/14/12 6:37 AM 053-50475_ch00_4P.indd vi 7/14/12 6:37 AM CONTENTS AN INTRODUCTION: BULLSHIT 101 One: Our Terrible, Horrible, No Good, Very Bad Web site 3 Two: Astonishing Tales of Mediocrity 6 Three: “I Wrote This Book for Pepsi” 10 Four: Social Media Is Bullshit 15 PART I: SOCIAL MEDIA IS BULLSHIT Five: There Is Nothing New Under the Sun . or on the Web 21 Six: Shovels and Sharecroppers 28 Seven: Yeah, That’s the Ticket! 33 Eight: And Now You Know . the Rest of the Story 43 Nine: The Asshole- Based Economy 54 053-50475_ch00_4P.indd vii 7/14/12 6:37 AM Ten: There’s No Such Thing as an Infl uencer 63 Eleven: Analyze This 74 PART II: MEET THE PEOPLE BEHIND THE BULLSHIT Twelve: Maybe “Social Media” Doesn’t Work So Well for Corporations, Either? 83 Thirteen: Kia and Facebook Sitting in a Tree . -
List of Participating Merchants Mastercard Automatic Billing Updater
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